对梅兰芳民国初年排演“时装新戏”的历史反思  

Mei Lanfang and the Plays in Contemporary Dress during the Early Republic Reign:A Historical Reflection

作　　者：邹元江[1] 

机构地区：[1]武汉大学哲学学院

出　　处：《戏剧（中央戏剧学院学报）》2012年第2期78-93,共16页Drama:The Journal of the Central Academy of Drama

基　　金：作者主持的"十一五"国家社会科学基金项目<梅兰芳表演美学体系研究>【批准号:07BZX064】的阶段性成果之一

摘　　要：作为京剧演员的梅兰芳排演"念多唱少"的时装新戏显然是对京剧传统的偏离。对于这种偏离,梅兰芳后来有过深刻的检讨。但学界和演艺界却并没有从梅兰芳的检讨中看清中国戏曲艺术应该走和不应该走的路径。1949年后无论是戏曲学界还是演艺界甚至愈来愈走回到当年梅兰芳所反对的"时装新戏"的理论思维和创作方式上来,这是不能不令人深刻反思的。The new plays in contemporary dress staged in the early Republic Reign show an obvious deviation from the tradition of Peking Opera. As a Peking Opera performer, Mei Lanfang later made serious reflections upon his involvement in such kind of shows. Unfortunately, his reflections did not result in any clear thought concerning the correct path of Chinese traditional operas among researchers and performers. After the foundation of the People＇ s Republic, theories and practices in traditional theatre increasingly returned to the early Republic Reign model that Mei criticized.

关 键 词：梅兰芳“时装新戏”反思 

分 类 号：J821[艺术—戏剧戏曲]